Not all of the following images open in a new window for a detailed study. All of them are details taken from paintings and they are all from the 1660s except where indicated.

The cravat has derived by then from the wide lace collars of the earlier period and is turning into the falling band. It is interesting to note how with the change in hairstyles and the increasing adoption of wigs, the falling band's shape is changing from the wide, shoulder spanning stiffer construction, the sides start melting and the front gets longer to accommodate for the luxurious long curls that obstruct the sides and the back of the collar anyway, to the long lace and line in front, falling in one large fold but still with the two tassels on the ties, to a completely different style when the suit is beginning to be adopted, that of a long linen strip, adorned with lace, which is worn in a large bow and increasingly, towards the end of the decade, with coloured ribbons which hold either the bow or the knot in place. Do bear in mind, that fashion changes always have a reason. In the case of the periwigs coming into fashion at the English court and subsequently down the strata of society, ending with those who could not afford wigs and instead wore their hair long, was a very simple one, and it started, as so many fashions, with the King.

Samuel Pepys Diary, 1663
Oct. 30. At my periwig-maker's, and there showed my wife the periwig made for me.
Nov. 2. I heard the Duke say that he was going to wear a periwig; and they say the King also will. I never till this day observed that the King is mighty gray.
Nov. 3. Home, and by and by comes Chapman, the periwig-maker, and upon my liking it, without more ado I went up, and there he cut off my hair, which went a little to my heart at present to part with it; but, it being over, and my periwig on, I paid him 3 pounds for it; and away went he, with my own hair, to make up another of it.
Nov. 8. (Lord's day). To church, where I found that my coming in a periwig did not prove so strange as I was afraid it would, for I thought that all the church would presently have cast their eyes all upon me, but I found no such thing.

1659 Colonel John Russel Wright in a falling band over the buffcoat. The thick tassels are showing. England.	1660 The famous of the Dutch gentleman shows a large falling band of fine linen edged with broad lace. The pleats going around the corner are well visible. Holland.
1660 French engraving of a very fashionable gentleman wearing a full lace falling band with long double tassels on the ties. France.	1660 Saltonstall is wearing a short doublet and depicted here in an old fashioned wide and stiff collar that is open in the front and edged with a narrow, scalloped lace. England.
The second Duke of Buckingham in a very full and frizzy blond wig, a type of wig which seemed to be fashionable only for a short while. His falling band shows no tassels and the ties are hidden The lace edging is extremely broad. England.	Gentleman with a mixture of an earlier and later falling band. It is soft but wide and open at the front, showing tassels. England.
Admiral de Ruyter in a very pristine and moderate pure linen collar, representing the restraint of the Protestant Netherlands. Holland.	Gentleman in a very long curly wig and equally long and narrow lace falling band. Towards the mid 1660s. Nationality indeterminate.
The Duke of Lauderdale towards the end of the decade, probably 1667 or 68, not in a falling band anymore, but a cravat, the line is just visible at his neck and the lace that is used has changed too. Not the soft bobbin lace anymore, but the boldly patterned three dimensional venetian Gros point needlepoint. England.	Caricature of fashion by Roman de Hooghe, end of the decade. The gentleman wears a cravat with broad lace ends and the cravat is either knotted in a small knot or simply held together with silk ribbons. Nationality indeterminate since it is a caricature.
1661 James, Duke of York by Peter Lely in an unusual cravat for so early a year. He is dressed though similar to the flowing robes of the court beauties, due to the fact he was painted by Lely. Therefore he appears to be in undress rather than outdoor garments and the long soft linen and lace cravat is knotted loosely. England.	1661 James, Duke of York in a far more formal portrait, wearing a large linen falling band. The way it is shaped is good to see in profile with the front longer. He wears his natural hair. England.
1662 The gentleman is dressed soberly and appears to be a Dutch Protestant. His falling band is reminiscent of the earlier collars and is a stiffer linen with a lace edging. Small tassels are visible. Holland.	1662-65 This young gentleman is Dutch and he is wearing a soft, large falling band with an equally soft lace edging. Holland.
1665 A very broad lace is attached to a small bit of linen, forming the familiar double fold in the front. Nationality indeterminate.	1663 Self portrait of the Dutch painter Dou, who depicts himself in casual undress and so is his soft linen cravat, which is tied in a simple bow. Holland.
1663 Large and heavy needlepoint lace makes up this magnificent falling band of Friedrich Wilhelm which appears to be starched but is merely the effect of the heavy lace. German.	Prince Rupert in the earlier part of the decade in a small falling band with a fold in the front, made from a bobbin lace with a small all-over (neige) pattern. England.
1663 Dutch Officer Rihel painted by Rembrandt and wearing an unusually simple fan shaped cravat arranged over a buffcoat. The cravat itself is a rectangular piece of linen, the fan-shaped is created by careful arrangement. Holland.	1664 Sir William Bruce Wright in undress, wearing a gown (banyan) and his cravat made from soft linen with a broad lace edge is wide and tied in a loose bow. England.
1664-65 The 9th Earl of Argyll wears a large falling band with a broad lace edging. England.	1665 The Marquis of Tweedalle wears a fashionable cravat which consists of broad lace edges which are held together by a silk ribbon to fall into the tiers. England.
1666 Very long and narrow falling band with typical front fold and very long ties with tassels. Nationality indeterminate	1667 The Earl of Bath in a now very fashionable cravat in a wide bow, worn with the new coats. England.
1667 Lord David Hay in an unusually large and broad falling band for the end of the decade. England.	1667 Louis XIV in a cravat with venetian Gros point lace edging and the knot secured by red silk ribbons. France.
1667 Robert Kerr in a very similar cravat to Louis XIV. England.	1667 Sir Norton Knatchbull very modestly dressed in a plan line falling band. England.
1667 Officer at the Siege of Douain wearing a cravat in a bow with lace edging and held by a red silk ribbon. France.	1669 Prince Rupert wearing a cravat in a soft floppy bow. England.
1667-68 Dutch gentleman in a simple linen cravat held together by black silk ribbons. Holland.	1670 Anne Marie Louise de Medici in a riding habit, wearing a male falling band of the old fashioned style made from boldly patterned lace.
1670 Gentleman in a cravat with broad lace edges and held together with a black silk ribbon.	Anthony Ashley Cooper in a lace edged bow. England.
Minister Colbert with a falling band edged with a very broad exquisite Venetian needlepoint lace France.	Minister Colbert in a more modest falling band. France.
Duc de Beaufort in the early 1660s wearing a wide and open fronted falling band/collar. France.	Louis XIV in the early 1660s wearing a very long falling band with a very broad lace edge. France.
Louis XIV by Le Brun in a long falling band with broad lace. France.	Samuel Pepys in an undress silk gown wearing a loosely knotted cravat. England.
Philippe, Monseigneur, brother of Louis XIV in a soft cravat worn in a loose and floppy bow with broad lace edges. France.	Prince Rupert in a lace edged falling band. England.